Shame 2011

My friends have suggested that I sound like a stalker every time I say that ‘I found Michael Fassbender first’, and they may have a point, but I really did find him before he started appearing on the cover of pretty much every other entertainment glossy. With Steve McQueen’s Hunger (2008) he impressed me, with the subsequent Fish Tank (2009) he had secured my loyalty – and by the time ‘everyone else’ saw him in Inglourious Basterds (2009), I was already the president of the fan club. So, I insist: I found him first.

Such quibbles aside, Fassbender is going from strength to strength – and his performance in Shame is simply mind-blowing. He plays Brandon, a well-to-do, 30-something New Yorker living the high life. He works hard, parties harder and is a confident, attractive man. There is one complication though. He has a sex addiction. What is initially shown as a debauched lifestyle (so what if he sleeps with prostitutes, tries to pick up strange women at parties or on his way to work, or jerks off to porn every night – doesn’t everyone?!), slowly starts emerging as an actual problem. But Brandon has things under control. His demons are private and his peers are to never find out. 

This delicate balance is instantly toppled when his younger sister, Sissy (Carey Mulligan), suddenly turns up at his apartment and requests a few days' stay. Sissy is clearly messed-up. She is disturbed, reckless and seems to have an appetite for sex with inappropriate men, followed by an unrelenting obsession, almost like she is looking to be rejected or abused, or both. Her relationship with her brother is odd at best and very, very discomfiting at times. And though she pretends to be innocently sexual around him, Brandon's reactions to her every gesture make it very clear that there is a history to their relationship that is unsavoury.

The story focuses on Brandon's descent into hell, as he loses control over a very carefully built sham life, where his addiction takes over and all but destroys him, and where he stands to lose everything he's ever worked for. Before the audience's eyes, this desirable, male animal becomes a worthless, quivering slave to obsession - and yet, we just can't look away.

Steve McQueen is a truly remarkable director and storyteller. As with Hunger, he has once again filmed long scenes, in single takes, to extraordinary effect. The camera angles he has chosen throughout the film are unconventional, bold and exciting. The performances he has extracted, out of both Fassbender and Mulligan, are exceptional. The subject matter, which in the hands of a lesser film maker could have easily been sensationalist and vulgar, is just so powerful and almost...beautiful, in all its ugliness. What is quite wonderful about this film is that we never really know anything. We are never given the full information about Brandon and Sissy's past. All we know is that they left Ireland many years ago and moved to the US - and there seems to be a sort of secret buried in that simple fact; a secret that may or may not hold the key to two very damaged siblings. We can assume what we like, but we are never given neat, little snippets to help us along the way. We are never really given the opportunity or the right to judge. All we get is a window to watch two fairly likeable characters, become completely broken - and that journey is so unbearable at times, it is painful to watch.

Michael Fassbender is being hailed as the next big thing - and he really does deserve the praise. He reminds me of Christian Bale at times - and it is not just because they both have an animalistic grace or the fact that Brandon's initial scenes were in some ways reminiscent of Patrick Bateman in American Psycho (2000) - but rather how both these actors are able to convey a level of unpredictability that few others can. There are at least three scenes between Fassbender and Carey Mulligan, where I was gripping my seat and fearful of what would happen next - and besides excellent direction, it was due to excellent acting that those scenes worked the way they did. He has delivered a smouldering performance - a flawless depiction of rage, self-loathing and pain. Mulligan, herself, is fantastic in the film. She is emerging as a very fine British actress and God knows we need some more of those.

Shame is not a film for everyone. But for some it is a near-perfect work of art. Recommended for only those that can put up with it!

Ides of March 2011

Nowhere as powerful as George Clooney's directorial success, Good Night, and Good Luck (2005), this film, based on a play by Beau Willimon, has a stellar cast but smells like West Wing in so many ways.

Stephen Meyers (Ryan Gosling) runs a tight ship as the campaign coordinator for Democrat candidate Mike Morris (Clooney), but loses his footing when he makes a few rookie mistakes in his naive ambitiousness. As he almost gets fired by campaign manager Paul Zara (Philip Seymour Hoffman), he turns the tables by blackmailing Morris with a well-guarded secret and joins the very dirty politics he claimed to have loathed in his idealistic years.

There are flashes of The Godfather (1972) all the way through. Much like Michael Corleone, Stephen Meyers is corrupted right before our eyes and we can't really blame him. Even the last scene is extremely reminiscent of the final shot of The Godfather when Michael's fate is sealed. Clooney, Gosling, Hoffman, Paul Giamatti and various others make this an excellent lesson in acting - but the film seems to lack a soul...or a coherent mind. It gets you almost there, but never really hits the spot.

Shorthand Rants...too

So, I'm back with various half-baked thoughts, because in most cases these films do not deserve the effort of proper writing...

Larry Crowne (2011) - Why would two Academy Award winners get together and make such a pish film? There's no depth, no story, no chemistry and really no reason for this to work. So it didn't. This film was such a terrible waste of my time and yet I find myself wondering if there was a single redeeming factor about the absolutely haphazard story. I haven't found it.

Horrible Bosses (2011) - I'm usually averse to this genre of 'bromantic comedy', but this was a fun film. If for nothing else, one should watch it for Kevin Spacey's unbelievably evil role, Jennifer Aniston's sex-crazy character and above all (and I really mean that), Colin Farrell's repulsive turn. Astounding to see a man as sizzling hot as Farrell, be as comfortable as he is in such a revolting guise. Enjoyable film.

Friends with Benefits (2011) - Oh no...not again...yawn. Another story about friends having sex without commitment and then falling impossibly in love. How many times will we watch the same story in one year? Justin Timberlake is surprisingly good and Mila Kunis delivers as expected, but really this film can be easily missed without any great loss to your viewing score.

Crazy, Stupid, Love (2011) - There are shades of American Beauty (1999) here, with Julianne Moore playing her usual over-the-top paranoid/bored/crazed wife and Steve Carrell playing the hapless/confused husband. But that's where the similarity ends. Enter Ryan Gosling with his suaveness, unending charm and raw sexuality as Carrell's self-appointed love-guru and the film glitters a bit. Emma Stone is as usual a breezy, fun addition and the final product is an ok film, not quite sure if it wants to be a rom-com or a slight satire - managing neither - but not failing miserably as an entertainer. I guess if it wasn't for Gosling, I really wouldn't have given two hoots about it, and this is definitely his weakest outing in years, but he does make it all better.

Fright Night (2011) - Colin Farrell. Vampires. Need I continue?
Trashy remake of a trashy film, worth watching only because Farrell and vampires are in it.

Don't be Afraid of the Dark (2011) - Wow. What a bad film! The horror wasn't horrifiying, the terror wasn't terrifying, the film was just plain boring and Katie Holmes should've stayed at home. Guy Pearce once showed such great potential but now seems to spend his time torn between bad leading roles and inconsequential character roles. What a waste. And the kid really did not bring out my maternal instincts. Guillermo del Toro should really think before he 'recommends' films and put his name down as producer. His goodwill is running thin.

Drive 2011

Ryan Gosling is a good actor. In fact, he's a brilliant actor. And Drive is his film all the way.

Gosling plays a car mechanic, who works part-time as a stunt driver and moonlights as a getaway car driver. He is a man with no name, no past and no real ambitions for the future. He is laconic, almost stoic - and somehow his silent presence in a scene makes everyone else seem a little bit too talkative. 'Driver' (as the character is credited) works for Shannon, the owner of the garage, who knows his potential and sets him up with movie stunts, heist deals and during the course of the story is about to set up a stock car race, with the help of the mob. Somewhere along the way, Driver bumps into his neighbour, Irene, who, along with her young son, becomes his friend and companion, his love interest, till her husband, Standard, comes out of jail. When Standard gets in trouble with the mob again, Driver offers to help out, to protect the family that he has come to love, and what follows the botched-up job is a quick spiral into a mad, violent killing spree that keeps the audience alternating between wanting to look away and not being able to take their eyes off the screen.

Drive is a very stylised, stylish film. It reminds you a little of Michael Mann films - probably because his films often have an 80s feel - but it takes that 'feel' to a different level altogether. Languid scenes, economical dialogue, electronic music, and a very particular use of lighting takes you straight back to films like Cruising (1980) and Cobra (1986) amongst many, many others - where the reticent male protagonist takes it upon himself to protect others from an evil force. From the opening sequence itself, you know that this is not an ordinary thriller. Every shot is poetry in motion - and even the opening credits, in a hot pink font, are a sign of the extreme care that has been put into this film.

The cast is worthy: Carey Mulligan (Irene), Bryan Cranston (Shannon), Oscar Isaac (Standard) and Albert Brooks (the mob-head Bernie Rose). But worthy as they all may be, it's Ryan Gosling's film. He reigns over every scene, without even opening his mouth through most of them. His face speaks volumes. A smile, a glance, a glare - every move he makes says more than pages of dialogue could. He is a force to reckon with and goes from endearing to frightening in seconds. When he follows up the greatest show of romance in the film, with the most violent act, it seems ever so natural.

Danish director Nicolas Winding Refn had earned his stars with Bronson (2008), but with Drive he has delivered a masterpiece. Whether you like it or hate it, it's definitely one of the most important films of the year. Don't miss it.

Jane Eyre 2011

Of course it helps that Jane Eyre has been one of my favourite classic novels of all time, but that is exactly why this film could have gone so wrong and made me hate it so easily. Instead, I felt every chill and every thrill the characters felt, which is all to the credit of the makers and the actors.

But let's rewind to the beginning. This is the story of Jane, a young orphan, who having been cast out by her evil aunt after her uncle's death, is doomed to grow up in the heartless environment of a Victorian English boarding school. Through her childhood and adolescence, and despite the hardships, Jane remains a strong-willed, self-respecting individual, who does not let anyone walk all over her. She defies the norms of 19th century society and refuses to accept the 'inferiority' of her social class and gender. After working as a teacher at the school, she lands the opportunity to become governess to a young French girl, the ward of Edward Rochester of Thornfield Hall. The housekeeper, Mrs Fairfax, becomes the audience's guide in describing the absent Mr Rochester and his peculiar way of living. When he finally does make an appearance, we see that he is outwardly a foul-tempered, arrogant man, who has no compunction in belittling people who work for him. Little by little, Jane's intelligence and quick-wittedness capture his attention; her pride amuses and fascinates him; and soon he professes his love to her. It is at their wedding ceremony that Jane discovers the dark secrets he has been hiding from her and her fairytale romance turns into a nightmare from hell. How she deals with what fate throws at her, at every stage of her life, is the story of Jane Eyre, the woman who survives it all with her head held high.

Mia Wasikowska would not have been my first choice to play the most dignified of heroines in classic English literature - but I was pleasantly surprised by her in this film. She plays Jane in a fairly different way from how I imagined her to be, but I can't say that she plays her badly. Mia brings a measured level of naiveté and hope, laced with a reserve, that is interesting to watch. Having Judi Dench in the cast (playing the housekeeper), is like the director showing off that he has important friends. She isn't entirely wasted, and definitely lends a touch of prestige to the project, but the role could have been delivered by almost any one else. Jamie Bell and Sally Hawkins, along with the rest of the supporting cast, play their parts well and bring in the right dose of 'creepiness' to this master Gothic romance. But it's Michael Fassbender, who once again takes my breath away, with his perfect delivery of Rochester. Part-tyrant, part-wretch, despicable one minute and desperate another, he brings the animalistic appeal of Rochester come to life. It doesn't take him long to own the screen and the audience and, like Jane, we wait for him to return to Thornfield, every time he departs. He literally makes the scenes crackle, just by being in them.

Well-put together, well-directed and executed, this is a worthy Jane Eyre and manages to suck the audience into its dark world of lies, deceit and horrors without ever seeming to be trying too hard. Highly recommended.

I'm Still Here 2010

When Joaquin Phoenix announced his retirement from films in 2008, the news divided the camps pretty quickly into people who believed it and were stricken, people who believed it was an elaborate hoax, people who didn't believe it at all and thought it was a publicity stunt...and people who thought it was a very cleverly staged project. I fell into the last category.

Having admired Joaquin's acting for years, I distinctly remember watching him talk to the press after receiving the Golden Globe for Walk the Line (2005) and thinking that he is genuinely uncomfortable with crowds and does not know how to deal with praise and attention. He came across as a humble guy, who loves his job, and does not quite know how to handle the perks. Every interview or public appearance I saw since then just reinforced this image of someone who does not speak intelligently or confidently, but still tries to be nice when confronted with a mic and a camera. So, the entire retirement announcement, and Joaquin's subsequent appearances, where he seemed clueless about how rude and arrogant he sounded, just did not seem to fit the bill.

A lot has been written about how disturbed his upbringing was, about how the drug-induced death of his brother further destroyed his sanity, about how he is sometimes not able to tell the difference between reality and a character - and who knows all that may be true - but I just think that what ever his inner demons may be, he's not really insane - and Joaquin Phoenix, the rapper, did not only look insane, but also completely unprepared for this new career. For an actor, who is so true to his characters, so well-prepared for his craft, being this unaware of the music industry and his inaptitude as a rapper, reeked of a staged stunt. Soon, there was talk of Casey Affleck directing a documentary about Phoenix's new life and I was sure of my initial suspicions.

It has taken me a while to get to I'm Still Here and though quite disturbing at some points, I found it amusing. If Affleck and Phoenix genuinely went out to make this film, as they claim, to illustrate how most celebrity reality shows are staged efforts, then they have done a good job.

The film starts with Phoenix's turmoil about his professional life, about the lack of creativity in his so-called 'creative' career, and his conclusion that he will express himself through music, as that's what he feels he can relate to. We then chart our way through the announcement, the reactions from friends and media, the attempts at building the new career, the spiral into drugs and debauchery, and most cringe-worthy of all, the disintegration of all Phoenix's relations with his staff and associates.

Way before the end credits, where real names of some of the main characters in the film are revealed, it's quite obvious that this isn't a real documentary. The absolute lack of family members or friends in the story, the excessive focus on drugs earlier in the film and next-to-none later, the reactions of some of the people (Ben Stiller and P. Diddy, so very clearly trying to deliver to the camera) are dead give-aways. There are scenes, which are so over-the-top, it's hard to believe they're real (even though we all have read stories about celebrities treating staff in a worse manner, drunken and drug-fuelled parties that are far more out-of-control, and egos that are far more inflated), but there are moments in the film, where we can't help but believe, in spite of ourselves, that this may not be Phoenix's story, but it could be any one else's story (Joaquin runs out of his car into the bushes and breaks down about how he's told everyone he's quit acting, but has now made a mess of singing, and has 'fucked' his life).

The film may have been conceived with the idea that reality shows aren't real, but through the course of its narration, it highlights the pressures a celebrity is constantly under. How a decision, how ever misguided, is covered by the media and is mocked at every given opportunity. The coverage Joaquin Phoenix received, over the year after his announcement, is used in the film. The disastrous David Letterman interview, the spoofs at awards ceremonies, the discussions on entertainment news shows, all portray how quick everyone is to put celebrities on pedestals and remove them when required and trample over them, without much effort from them for either position. One of my favourite scenes is when a reporter comes to speak to Joaquin and says that all reporters standing outside are discussing how this entire thing is a hoax, but he can see how Joaquin is actually really into his music. Joaquin beats the reporter at his own game and says that he finds it disrespectful that anyone would consider this a hoax or a joke, because this is his life, and they're implying that his life is a joke. Joaquin goes on to tell the reporter that he may pretend that the other reporters are asking this, but it's obvious that the reporter himself is asking this question. The indignation that Joaquin is faking through the film, could have been real if this film was real. And it would have been fair.

Casey Affleck and Joaquin Phoenix are two very interesting actors of their generation, who have put together an interesting film (albeit, a bit too long), which is successful not for the reception it got itself, but rather for the reception that its making got. Worth a watch.

Shorthand rants...

There is a bunch of films that I have watched over the past couple of months that I never got a chance to rant about...and rant I must. So here goes:

Easy A (2010) came highly recommended by friends I trust and yet I did not trust them about a teenage comedy. Big mistake. The film is an absolute delight! Olive is an ordinary high-school girl, who jokingly tells her best friend after a boring weekend that she spent the last couple of days living it up with a boy. The rumour mills are immediately set ablaze and she earns herself a huge reputation, which she initially tries to quell and later milks to advance her financial and social prospects. It's an amusing story, held together by excellent scripting, characterisation and editing. Emma Stone is brilliant as Olive and there is a stellar cast to support her. Stanley Tucci and Patricia Clarkson, who play her parents, are equal parts nuts and equal parts endearing. Of course, I will never be able to hear Pocketful of sunshine without it invoking hilarious images from the film. Don't be put off just because it seems to be just another teenage comedy. It really is much more than that.

Biutiful (2010) is the latest Alejandro González Iñárritu film, starring Javier Bardem as Uxbal, a man caught between life and his mortality, needs and his guilt, hopes and his nightmares. The film was heavily nominated for various international awards (including the Academy Award) and won quite a few along the way. Iñárritu uses his usual style of interlinking multiple threads to show the audience various sides of a story - and the film has moments of joy, always underlined with deep melancholy. I tried really hard to like it as much as everyone else, but it somehow did not touch me as much as I hoped. In fact, it left me quite cold and I couldn't wait for it to end, so I could move on to something a bit more interesting. A shame really - as I continue to wait for Iñárritu's next Amores Perros, 2000, which just doesn't seem to get made.

Reservation Road (2007) - an old one, which I decided to watch for Joaquin Phoenix, and did not find disappointing. The film shows us two sides of a tragedy - the accidental death of a young boy - from his parents' and from the perpetrator's points of view. Beautifully crafted, it continually puts the audience in an uncomfortable position, where taking the moral high ground is no longer that easy. Mark Ruffalo plays the troubled 'killer' and his pain is just as raw as the traumatised father's (played to perfection by Phoenix). The story is a simple slice of life, where things are never completely black or white - and this film has an abundance of grey. Very well-made.

The Tree of Life (2011) is a Terrence Malick film, which has been praised by almost every critic out there and has not only left me unimpressed, but so angry at the praise, that I am not sure if I should even write about it. I feel positively stupid for not liking it, as everyone else seems to have 'got' it, whereas I found it lengthy, boring and completely interminable. I wish I could sum up what the film was about - there was the creation of the world, some dinosaurs, some human birth and death, a lot of whispering to God, some cliché-ridden characters and rites of passage situations, and a whole lot of pointless wandering. People keep saying how beautiful the film was and I'd honestly prefer to watch a few hours of Discovery Channel than waste my time on a film that is so 'artistic' that it alienates the ordinary audience completely. Brad Pitt and Sean Penn are two of the stars in the film, but it's not about them and they don't carry the film forward, so I don't think I can blame them. In fact, I would like to blame Malick himself for making such a pretentious piece - but then I don't know what I was expecting from the man who is the creator of the worst film ever made, The New World, 2005. And with this rant, I will either lose some of my meagre audience for ever, or will have gained a couple of readers.

So many films...so little time.

Zindagi Na Milegi Dobara 2011

Finally, a Hindi film worth reviewing!

Zindagi Na Milegi Dobara is Zoya Akhtar's second film after Luck by Chance (2009) - and she has once again written and directed a slick, well-put-together, entertaining film. Coming from a family of talents (dad Javed Akhtar - poet / lyricist / screen writer; mum Honey Irani - actress / screen writer; brother Farhan Akhtar - actor / director / producer / singer / writer), she obviously has no problem fitting right in - and though her second film is much like an updated version of her brother's Dil Chahta Hai (2001), she has proven herself by directing two very different films in two years.

ZNMD is the story of three friends - Kabir, Arjun and Imran - who take off on a 3-week road trip in Spain, which serves as the 'bachelor party' before Kabir gets married in India. The trip is to include challenges that each one of them has dreamt of since college - and each challenge is a surprise to the others. With this seemingly fun-filled adventure serving as the backdrop, the trip tests relationships, strengthens some bonds, breaks others and answers questions each one of the characters has been struggling with. Love is found and love is lost - but the holiday establishes one thing for them all - life is short and has to be lived to the fullest.

There is never a dull moment in the film - the dialogue (penned by Farhan) is crisp and witty, the situations are fun, but believable, the characters are identifiable - and the film allows the viewer to go on a dream holiday with some of the coolest people ever, from the comfort of their seats. In this and so many other ways, the film reminds me of Dil Chahta Hai (just without the interminable Akshaye-Dimple love story). Farhan manages to be in and around so many films where male friendship is rendered with the loftiest of depictions - makes me think he's either had some really great friends in his youth or he's making up for what he doesn't have by being in films about great friendships.

Hrithik Roshan (Arjun) plays an ambitious, money-minded, focused man and has delivered a very balanced performance - which is always a surprise when it comes to him, as he has a general tendency to try too hard and end up looking forced and annoying. Abhay Deol (Kabir) is as always a pleasure to watch - he's relaxed, natural and absolutely comfortable in what ever character he plays - and this film is no exception. It's good to see him in more mainstream films, as he has so much potential and it would be sad to see his career die a quiet death in unwatched off-beat films. Farhan Akhtar (Imran) doesn't need much discussion - he's consistently good in pretty much every film that he's involved with. Here he plays the most flawed of the three friends and manages to be endearing all the way through. Other actors, including Katrina Kaif and Kalki Koechlin, have short roles, which they do full justice to. The film rests on the three actors though - and they're all excellent.

Everything about this film is top-notch, including the music, visuals, editing and the general 'feel'. The main star of the show is the script though - whether it's the 'bag-wati' story or the chit-chat about Doordarshan, the underlying humour is natural and at times a bit Tarantino-like. And the end credits are definitely a homage to the You Tube sensation 'JK Wedding Entrance Dance'. But it's all done in a very classy manner - and that is what puts Farhan and Zoya at the forefront of this generation of Hindi film-makers.

An excellent film - and well worth a watch.

Dhobi Ghat 2010

Despite being an avid Hindi film viewer, this is the first Indian film I am writing about. It deserves a 'review' here partly because it has managed to impress me and partly because it has made me pretty angry.

Released internationally as Mumbai Diaries, the film follows the lives of four characters in Mumbai: Munna, the washerman(dhobi)-by-day and rat-killer-by-night, who works two jobs to make ends meet and aspires to be an actor as so many others do in this city of opportunity; Arun, the acclaimed artist, who shuns his adoring audience whenever possible but lives a comfortable life thanks to that very rich audience in this city of affluence; Shai, the US-based investment banker, who is on sabbatical and spending her time photographing the dirty areas of this city of extreme poverty, which people in her social circle would not tread into; and finally, Yasmin, who comes to this city of dreams, with hope in her heart, but finds, like everyone else, that this is also the city of disappointment. Four inter-woven lives - against the backdrop of the fifth very prominent character of the story - Mumbai, the city itself.

The casting, acting and direction, throughout the film, is flawless. Kiran Rao, a first-time director and writer, has done a fantastic job. Aamir Khan (Arun), Monica Dogra (Shai) and Kriti Malhotra (Yasmin) look the characters and perform them well. But it's Prateik Babbar (Munna), son of actor-politician Raj Babbar and late actress Smita Patil, who takes your breath away. His face manages to portray vulnerability, street-smart, shyness and jealousy without ever showing any signs of effort. Like Kunal Kapoor and Sharman Joshi before him, he can carve a nice little niche in Hindi films, if he continues to be an actor, rather than trying to become a Bollywood star.

In all this positivity, where is the anger I speak of, you probably wonder. Well, the film manages to break away from Bollywood clichés and classic narratives, by being song-and-dance-less and by not giving the audience an obvious resolution - the end - which is normally expected from Hindi films. In all this, and so much more, it has managed to bring in European sensibilities and, through that, has found respectability amongst film viewers and reviewers all over the globe. But what it has not managed to do is to break away from emulating another cinema.

Classic 'Bollywood' (regardless of how much that name is hated in India) was very much based on classic Hollywood narrative and over the years has developed its own identity (hence the issues with the derivative name). Hate it or love it, Bollywood speaks a different cinematic language, which is very much its own (and is shared by other South Asian cinemas). So, breaking from the convention is worth appreciating, but breaking from it to make a European film instead is not exactly heroic.

In fact, it's not even a general language of cinema that Dhobi Ghat borrows from, which would have been very acceptable. It very specifically emulates the style of Mexican auteur Alejandro González Iñárritu, whose films are very popular in Europe (as well as, all over the world). The effects of a person's life on other lives, the interlinks between human beings, the disparity between people belonging to different socio-economic classes and the use of cityscape images as well as shots of people going about their business in the city - used together these are such signature themes from Iñárritu's films (Amores Perros, 21 Grams, Babel) that it's difficult not to see the obvious 'inspirations' for Kiran Rao's work. And then there's the music...simple, but melancholic...a little haunting. As if I needed any further proof for my claims, the end credits of the film named Gustavo Santaolalla as the composer for the film. Santaolalla just happens to the Argentinian who has composed the music for almost all of Iñárritu's films!

So, a film I would have appreciated for its 'different' storytelling and excellent performances - and would have criticised for the absence of an engaging story - is a little difficult for me to like, because of its very obvious borrowing from a genius director's work.

Still, a good watch - and definitely recommended.

Case 39 - 2010

An over-worked social worker, Emily Jenkins (Renee Zellweger), reluctantly takes on her 39th case and helps save a 10-year-old girl from her abusive and obviously insane parents, just as they are trying to kill her by putting her in an oven and turning it on. Emily then tries to give the little girl a new life, 'a new beginning', not knowing that what she's doing has far more sinister consequences for her and everyone she is close to.

Too many films try to be scary and thrilling these days - most just manage to be gross slashers, and very few are able to completely creep us out like the horror films of the 70s. Case 39 has the potential of those films. The best thing is that the film's trailer does not give the story away, which in today's overly-informative-trailer-age is a huge plus.

Highly recommended at the cost of a few sleepless nights.

My Sister's Keeper 2009

Since I missed it at the cinema, I put it on my DVD list, but I was in no hurry to watch this film, as I had presumed this was another tear-jerker with no real story. Of course, I should have realised that it was Nick Cassavetes' tear-jerker, so it wouldn't be all that ordinary...

In short, Kate Fitzgerald has had a rare form of cancer since she was 5. Her sister Anna was especially conceived to be her donor, her 'keeper' in a way. This is Anna's story, but it's also Kate's, their mother's, father's and brother's story. It's the lawyer's story and the doctor's story. It's a beautiful, painful story, where everyone is right, but wrong too.

Stellar performances from Sofia Vassilieva, Cameron Diaz, Jason Patric, Alec Baldwin, Thomas Dekker and Evan Ellingson. But the film rests on the small and so very capable shoulders of Abigail Breslin. She was good in Little Miss Sunshine (2006), but she's breathtaking in this film. Nick Cassavetes has once again made a film that makes you laugh and cry and love and die with the characters.

Excellent and highly recommended if you like to weep with your movie, sometimes.

X-Men: First Class 2011

I have been a fan of the X-Men series since 2000, when the first film came out. Since I didn't grow up with the comics, every new character in every new film fascinates me. If it wasn't for the disaster that took place in 2006 (I prefer to think that that film was never made and does not exist), so far each film has just been an exciting new chapter.

So, it was with a lot of enthusiasm that I went to see X-Men: First Class this weekend. Boasting a strong cast, a talented director and all the material for a great script, the film promised to kick-start the new franchise. Such high expectations generally lead to a hard fall.

Except, in this case, the expectations were met. Head on!

First, the script is pretty sound. The story (co-written by Bryan Singer) covers aspects of everything we have been watching for the past decade, neatly ties up the ends and continues to give us more to chew on . The dialogues are well-written and economical. The characters are interesting and intriguing. And best of all, there is something for everyone to enjoy. Wholesome entertainment!

The actors are at least adequate and at best perfect for their characters. Of course, I am biased here. I have always enjoyed Kevin Bacon's devilish charm and watching him play the unpredictable, power-hungry, ruthless villain Sebastian Shaw was completely believable. James McAvoy as Charles Xavier was inspired casting, as he brought a boyish charm to the Professor's usual sincere wisdom. But it was Michael Fassbender, who once again stole my heart. After Hunger (2008), Inglourious Basterds and Fishtank (both 2009), I've been waiting for his next big role. And Magneto could not have been better cast. There's a natural animalistic beauty in his body language, which makes his Magneto all the more dangerous and sensual. At once troubled and roguish, you can see how at a later age, he could grow into becoming Ian McKellen's Magneto from the earlier films.

Besides these three, most of the actors playing the young mutants have done justice to their roles. They're sort of dorky and awkward, but I think it works because they're teenagers AND mutants. I'm looking forward to seeing them again (except Darwin, of course - the token black man, who was promptly killed)! My only disappointment was Mystique's and Beast's make-up / hair. They looked more like fancy dress costumes than their real selves.

Hugh Jackman's, by now well-known, cameo appearance was good for a few laughs (and sighs) and the other surprise cameo (now you see it, now you don't) was quite cool too. But what I don't understand is why Brendan Fehr signed on to do a non-speaking two-minute appearance - surely he can do better!

Matthew Vaughn's delivered yet another good film. He has a small portfolio as a director, but every film has been well-made and a little, well, 'different'. X-Men: First Class never loses track and never bores (Vaughn co-wrote the screenplay), even though it has  the hefty job of explaining how it all started. In fact some of the best scenes include the initial recruitment of the X-Men and the montage of their training. With just the right dose of humour and seriousness, Vaughn has once again made us believe that this world of mutants exists - and has left us wishing we were part of it.

I hope he continues to make us 'believe' by directing the next one in this franchise.

Thor 2011

Yet another film that does not deserve a real review!

I went to see a comic book superhero film, based on a Norse myth, so I expected plenty of computer-generated sets and dramatic dialogue, along with some good old-fashioned 'kapow'. What I did not expect was the Asgard scenes to be so unnecessarily theatrical in a Shakespearean style (never forget your roots Kenneth Branagh, even when you should), the earthly romance to be so trite and the comedy in the God-meets-humans scenes to be so forced. Watching Thor was like watching 3 scrambled films - the Asgard scenes were shot in a slight Tron: Legacy (2010) crossed with Troy (2004) manner; the Earth scenes were shot in a War of the Worlds (2005) crossed with Iron Man (2008) manner; and Thor's time with the humans had the farcical feel of a Coming to America (1998)! If I don't sound impressed, it's because I really am not. I didn't put up with the constant drone of comic book geeks for months, to receive this half-baked attempt as consolation. And I'm getting especially tired of being told that this film leads to the next big series of films (heard it when The Incredible Hulk, 2008, came out, heard it again when Iron Man 2, 2010, came out and heard it yet again when Thor came out). I wish they'd concentrate on making one decent film at a time and quit worrying about launching the next big thing - at least then I'd remember not to get excited when Jeremy Renner shows up for one scene, which is supposed to be the introduction to his character in The Avengers film (2012).

'it was the season of Light, it was the season of Darkness'

Over the past couple of months, I have seen some very average films - the kind of films that were not even inspiring enough for me to give them bad reviews. It has been very frustrating.

So, I have decided to give them all a collective review here.

127 Hours (2010), despite all its accolades, failed to impress me. I can't fault the script or the director or, for that matter, the actor. But the story itself, as true and harrowing as it was, was just not strong enough to warrant a 94-minute-long film. It has been beautifully executed, but I found myself feeling listless and bored pretty quickly.

The Adjustment Bureau (2011) is one which has inspired a number of different reactions in me. When I first watched it, I thought it was interesting and somewhat different, albeit a little predictable. As time goes by, the fond memories are fading rapidly and I now remember it as yet another useless blip of film.

Battle: Los Angeles (2011) - Please torture me no more by reminding me that I watched this painful film...

Rango (2011) - ...or this one, for that matter! Having watched pretty much every film that Johnny Depp has done since Cry Baby (1990), I don't regret watching this one - but it was a difficult task. With lots of cute references to Fear and Loathing in Las Vegas (1998) and various Clint Eastwood films thrown in to 'spice' it up, the film remains flavourless and unappetising. Definitely not a kids' film, it barely qualifies as a grown-up film and is one of the crazier stunts Depp has pulled since Dead Man (1995) - besides The Imaginarium of Doctor Parnassus (2009), of course!

The Rite (2011) - Tries too hard to be The Exorcist (1973) and does not manage to come even close. Creepy, at best, but generally just tedious.

Sucker Punch (2011) - While I really can't recommend this film, it was oddly entertaining. The cinematography and post production special effects are exquisite (can't expect any more or less from Zack Snyder), the story is adequate for a film of this genre and the actors all deliver what is required of them. I feel compelled to not complain about and not praise this one.

The Lincoln Lawyer (2011) - Nothing extraordinary or surprising about this film. It's an average thriller, with decent performances from Matthew McConaughey, Ryan Phillippe, Marisa Tomei and William H Macy. The 'twist' isn't too unfathomable, but not too obvious either, and the film isn't especially bad.

Limitless (2011) - This one surprised me. Again, not an extraordinary film, but it's well-shot, well-scripted, well-directed and well-acted. And the story is a bit unusual too - with its part-fantasy, part-sci-fi idea. Bradley Cooper is impressive, in that he is never boring...there's a bit of Craig Schwartz (John Cusack in Being John Malkovich, 1999) about his look, which is later replaced by Patrick Bateman (Christian Bale in American Psycho, 2000) and he carries both with equal aplomb. Impressive.

Source Code (2011) - Disappointing. After Moon (2009), my expectations from a Duncan Jones film were sky-high, even though my expectations from a Jake Gyllenhaal film have been massively lowered over the years (he disappoints me on a regular basis) - so this was an unpleasant surprise. The film has enough of a Vantage Point (2008) styling for it to be extremely annoying and just not enough of the sci-fi storyline that I had gone to see for it to compensate for its pitfalls. A very bleak effort.

Red Riding Hood (2011) - Surprisingly entertaining. Yes, it's Catherine Hardwicke at the helm, so let's not expect great performances from the actors, but she has definitely improved since Twilight (2008). The visuals are stunning, the pace not too slack and the film generally holds the audience's interest. A twist here and a turn there and the final product is fairly decent.

All in all, these haven't been the best of months, but they haven't exactly been the worst either...and I live in hope for May...

Love and Other Drugs 2010

Due to the overuse of the Pfizer name, as well as the repeated mention of various real-life drugs, I was misled into believing that Love and Other Drugs was the depiction of a true story, which made me instantly uncomfortable to comment on the lack of credibility of this so-called love story. Now that I know that only certain aspects of the film (that is, the male protagonist's career) have a connection with a real-life story, I am far more comfortable trashing this cliche-ridden, awfully cheesy film.

In short, Jamie Randall (Jake Gyllenhaal) is a money-grabbing, promiscuous asshole, who works as a salesman for a pharmaceutical company (Pfizer) and falls in love with brazen photographer slash part-time waitress, Maggie Murdock (Anne Hathaway), who ironically suffers from a so-far-incurable Parkinson's disease (stage 1). Randall sticks by her, despite his usually asshole-like attitude towards everything else in life, thereby proving himself to be a better person than we ever expected him to be. Yawn! Oh and of course, abiding by what is slowly becoming a current trend in Hollywood 'rom-coms' (No Strings Attached 2010, The Ugly Truth 2009, amongst many others), Randall and Murdock are commitment-shy and want to have a healthy, sex-only relationship (how very European of them), till their beautiful hearts collectively let them down. Barf! This story arc allows the film makers artistic license to have Hathaway's breasts and Gyllenhaal's ass constantly in the audience's face. Gasp (the first time)! Ho-hum (every time after, which is basically most of the film)...

The film is by no means boring. There are some excellent lines, some funny situations, some endearing and some very silly characters. I even laughed out loud various times in the first half of the film. Gyllenhaal is sufficiently charming and suave and Hathaway pulls off a decent sexy lass. But it is the long list of loose ends and cliches that lets the film down big time. Characters with back stories that somehow pertain to their current lives, but are referred to in the vaguest terms; lame situations that have no purpose or conclusion except to inspire a sick laugh (Randall's Viagra-induced erection, Dr Knight's slight sex addiction, Randall's brother's pointless presence in his house etc - and why do we need to know about Trey Hannigan's relationship with Maggie?); the undying love between two people (and I am still perplexed about why exactly they are in love) that transcends all difficulties and emerges victorious. Compared to a Blue Valentine (reviewed here), where you understand how the relationship began and why it has to end, Love and Other Drugs explains nothing, answers nothing and expects the audience to suspend belief when Randall chases Murdock to the Canadian border to profess his love and propose to her, because she has made him believe that he is worth something. Oh boo-hoo! It would have been far more believable to see Randall leave Murdock for good, knowing that her health will only deteriorate and that life can only be downhill from here. That, though heartless, would have seemed far more plausible considering the lack of bonding between the characters. When will Hollywood have the guts to make a film about characters that are flawed, and yet so human?

Anyway, as far as this one's concerned, it's entertaining to watch, but by the time it ends, it's already too late to say 'WTF?' Watch for the sex and a few laughs; or avoid for the sake of sanity.